JP2015125391A - Electric musical instrument, program, and method for selecting sound generation pitch - Google Patents

Abstract

PROBLEM TO BE SOLVED: To readily select a sound generation pitch in accordance with player's intention of performance operation.SOLUTION: An electric musical instrument includes: providing a plurality of assignors selecting pitches to be sounded in response to operation conditions of a plurality of operation parts corresponding to individual sound pitches; setting a plurality of partial sound ranges in sound ranges corresponding to the plurality of operation parts; and associating each of the assignors with any of the plurality of partial sound ranges respectively to allow each of the assignors to select a pitch to be sounded from a pressed key list indicating operation conditions of the operation parts in response to corresponding sound pitches in the partial sound ranges (S18, S19).

Description

  The present invention relates to an electronic musical instrument that selects a pitch to be generated according to an operation state of a plurality of operation units, a program for causing a computer to realize such a pitch selection function, and an operation state of a plurality of operation units. The present invention relates to a pronunciation pitch selection method for selecting a pitch to be generated in response.

2. Description of the Related Art Conventionally, in electronic musical instruments, electronic musical instruments have been known in which a predetermined number of parts are assigned to a depressed key according to a rule corresponding to the number of depressed keys, and each note is pronounced with the tone of the part assigned to that note. Yes. According to this electronic musical instrument, a predetermined number of parts can always be sounded regardless of the number of key presses.
Such an electronic musical instrument is described in Patent Document 1, for example.

In addition, in an electronic musical instrument, there are provided a plurality of assigners for selecting pitches to be pronounced from predetermined pitches according to a predetermined rule, and the pitches selected by each assigner are represented by a tone corresponding to the assigner. It is also known to be pronounced.
Then, by using this plurality of assigners, for example, if a rule is set so that one assigner selects the lower pitch and the other assigners select the higher pitch, the bass is automatically set. The high-side and high-side sounds (for example, accompaniment and melody) can be played with different tones.
Such an electronic musical instrument is described in Patent Document 2, for example.

  In addition to these, there is also known an electronic musical instrument having a “split” function in which the key range of the keyboard is divided into two parts and the timbres of different parts are generated by the key range where the key is pressed. .

JP 2010-79179 A Japanese Patent No. 2565069

By the way, since the conventional split function simply generates a sound with a timbre corresponding to the key range to which the key depression position belongs, there is a problem that the usable timbre is limited and the performance becomes monotonous.
In addition, the electronic musical instrument described in Patent Document 1 has a problem in that all parts are assigned to key presses regardless of the number of key presses, so that natural sound may not be produced. For example, if you press only one key, all parts will sound at the pitch of that key, so the sound of the instrument that should be pronounced in the high range and the sound of the instrument that should be pronounced in the low range will be pronounced at the same pitch. End up.

Moreover, in the electronic musical instrument described in Patent Document 2, such a problem can be avoided to some extent by devising a pitch selection rule set for each assigner. However, the rule setting requires knowledge about the characteristics of each rule, and there is a problem that it is difficult to set an appropriate rule each time according to the content of the performance to be performed.
Such a problem occurs in the same manner when selecting a pitch to be generated according to the operation state of a plurality of operation units each corresponding to a pitch even when the electronic musical instrument is not a keyboard instrument. To get.

  The present invention has been made in view of such circumstances, and in the case of selecting a pitch to be generated by a plurality of selection means according to an operation state of a plurality of operation units respectively corresponding to a pitch, It is intended to make it easy to select a pronunciation pitch that matches the intention of the user's performance operation.

  In order to achieve the above object, an electronic musical instrument according to the present invention includes a plurality of selection means for selecting a pitch to be generated in accordance with operation states of a plurality of operation units each corresponding to a pitch, and the plurality of operation units. And a partial range setting means for setting a plurality of partial ranges in the corresponding range, and each of the selection means is associated with one of the plurality of partial ranges, and the pitch in the corresponding partial range The pitch to be generated is selected in accordance with the operation state of the corresponding operation unit.

In such an electronic musical instrument, according to a specific first operation, the selection means selects a pitch to be generated according to the operation state of the operation unit corresponding to the pitch in the corresponding partial range, or the corresponding In addition to the operation state of the operation unit corresponding to the pitch in the partial range to be played, according to the operation of the operation unit corresponding to the pitch other than the corresponding partial range performed during the first operation. It is preferable to provide switching means for selecting the pitch to be pronounced.
Further, correspondence setting means for setting a correspondence relationship between the first pitch and the second pitch, and an operation unit corresponding to the second pitch when the operation unit corresponding to the first pitch is operated. It is preferable to provide control means for controlling the pitch addition mode in which each of the selection means performs the selection of the pitch, assuming that the selection means is also operated.

Further, the control means may control the pitch addition mode when a specific second operation is performed.
The present invention can be implemented as an apparatus, a program, a method, a system, or any other form.

  According to the electronic musical instrument, the program, and the pronunciation pitch selection method of the present invention as described above, the plurality of selection units select the pitches to be generated by the plurality of selection units according to the operation states of the plurality of operation units respectively corresponding to the pitches. In some cases, it is possible to easily select the tone pitch that matches the intention of the performer's performance operation.

It is a block diagram which shows the hardware constitutions of the electronic musical instrument which is 1st Embodiment of this invention. FIG. 2 is a functional block diagram of functions related to sound generation control using an assigner in the electronic musical instrument shown in FIG. 1. It is a figure which shows the example of the key press list | wrist used with the electronic musical instrument shown in FIG. It is a figure which shows the example of the pronunciation pitch selection rule set to an assigner. It is a flowchart which shows the process which CPU performs in the electronic musical instrument shown in FIG. It is a figure which shows the relationship between the performance operation which a user performs in 1st Embodiment, and the pronunciation pitch which each assigner selects according to it. It is a figure which shows the other example. It is a figure which shows another example. It is a figure which shows the relationship corresponding to FIG. 6 in the comparative example of 1st Embodiment. It is a figure which shows the relationship corresponding to FIG. 8 in the comparative example of 1st Embodiment. It is a functional block diagram corresponding to FIG. 2 in the electronic musical instrument of 2nd Embodiment. It is a flowchart which shows the process of key press list | wrist production | generation in 2nd Embodiment. It is a figure which shows the relationship between the performance operation which a user performs in 2nd Embodiment, and the pronunciation pitch which each assigner selects according to it. FIG. 14 is a diagram showing a key pressing list when the performance operation shown in FIG. 13 is performed. It is a flowchart which shows the process of key press list | wrist production | generation in 3rd Embodiment. It is a figure which shows the example of an additional setting table. It is a figure which shows the relationship between the performance operation which a user performs in 3rd Embodiment, and the pronunciation pitch which each assigner selects according to it. FIG. 18 is a diagram showing a key pressing list when the performance operation shown in FIG. 17 is performed.

Hereinafter, embodiments for carrying out the present invention will be specifically described with reference to the drawings.
[First Embodiment: FIGS. 1 to 8]
FIG. 1 is a block diagram showing a hardware configuration of an electronic musical instrument according to the first embodiment of the present invention.
As shown in FIG. 1, the electronic musical instrument 10 includes a CPU 11, a ROM 12, a RAM 13, a storage device 14, a communication interface (I / F) 15, a detection circuit 16, a display circuit 17, and a sound source circuit 18. Connected by. The electronic musical instrument 10 includes a timer 21 connected to the CPU 11, a performance operator 22 and setting operator 23 connected to the detection circuit 16, a display 24 connected to the display circuit 17, and a DAC (digital / analog conversion) connected to the tone generator circuit 18. Circuit) 25 and a sound system 26.

Then, the CPU 11 controls the entire electronic musical instrument 10 by executing a required program stored in the ROM 12 or the storage device 14 using the RAM 13 as a work area, thereby detecting the performance operation and responding to the operation state of the performance operator. Various functions such as selection of pronunciation pitch and control of pronunciation according to the selection are realized. A timer 21 connected to the CPU 11 supplies a basic clock signal, interrupt processing timing, and the like to the CPU 11.
In addition to the above programs, the ROM 12 also stores various data files such as waveform data corresponding to timbre, automatic performance data, automatic accompaniment data (accompaniment style data), various parameters, various tables, and the like.

The RAM 13 is used as a buffer area such as a reproduction buffer in addition to the work area of the CPU 11 that stores flags, registers, various parameters, and the like.
The storage device 14 is composed of at least one of a combination of a recording medium such as a hard disk or a semiconductor memory and a driving device thereof.
The communication I / F 15 is an interface for communicating with an external device such as a server, an audio device, an external controller, and the like, and can be configured using communication means of any standard regardless of wired or wireless. For example, it is possible to use USB (Universal Serial Bus) or MIDI (Musical Instrument Digital Interface) _I / F.

The detection circuit 16 is an interface for connecting the performance operator 22 and the setting operator 23 to the system bus 19.
The performance operator 22 is connected to the detection circuit 16 and supplies performance information (performance data) according to a user's performance operation. The performance operator 22 includes a plurality of operation units each corresponding to a pitch for receiving a user's performance operation. Then, the operation start timing and end timing for the operation unit of the user are supplied to the CPU 11 through the detection circuit 16 as key-on data and key-off data including pitch information corresponding to the operation unit operated by the user. The performance operator 22 can also supply various parameters such as a velocity value in accordance with a user's performance operation. In the present embodiment, the description will be made assuming that the keyboard-type performance operation element 22 is provided and each operation unit is a key. However, the present invention is not limited to this.

The setting operator 23 may be any device that can output a signal corresponding to a user input, such as a button, a slider, a rotary encoder, a character input keyboard, and a mouse. The setting operator 23 may be a pointing device for performing an operation on a GUI (Graphical User Interface) displayed on the display 24 or a touch panel stacked on the display 24.
In any case, the user can perform various inputs, settings, and selections using the setting operator 23.

The display circuit 17 is an interface for connecting the display 24 to the system bus 19.
The display 24 is a display means for displaying various information for setting the electronic musical instrument 10, an operation state of the electronic musical instrument 10, and the like, and can be configured by, for example, a liquid crystal display device, a light emitting diode (LED), or the like. .

  The tone generator circuit 18 has a function of generating musical tone signals (digital waveform data) using a plurality of tone generation channels (channels) in response to a tone generation instruction from the CPU 11. The sound generation instruction from the CPU 11 includes designation of tone color, pitch, volume, and the like. When the CPU 11 detects the performance operation of the performance operator 22, the assigner function selects the pitches for sounding corresponding to the assigners from the pitches of the keys being pressed, and follows the selection. The tone generator circuit 18 is instructed to generate the sound. Details thereof will be described later.

  The sound source circuit 18 is a waveform data, audio data, automatic accompaniment data, automatic performance data recorded in the storage device 14, ROM 12 or RAM 13, etc., or a performance supplied from an external device connected to the communication I / F 15 or the like. It is also possible to generate a musical sound signal according to a signal, MIDI signal, phrase waveform data, and the like. The tone generator circuit 18 also has a function of adding various musical effects to the generated musical sound signal.

The tone generator circuit 18 outputs the generated musical sound signal to the DAC 25. The DAC 25 converts the musical sound signal into an analog acoustic signal and supplies it to the sound system 26 connected to the DAC 25. The sound system 26 is sound generation means including an amplifier and a speaker, and outputs an analog sound signal supplied from the DAC 25. The DAC 25 and the sound system 26 may be outside the electronic musical instrument 10.
In the electronic musical instrument 10 described above, a characteristic point is the operation of the assigner related to the partial range set as the range in which the performance operator 22 can accept the performance operation. Therefore, the operation of the assigner will be described more specifically.

FIG. 2 is a functional block diagram of functions related to sound generation control using the assigner in the electronic musical instrument 10.
As shown in FIG. 2, the electronic musical instrument 10 includes a sound generation instruction receiving unit 31, an operation state detection unit 32, a partial range setting unit 33, an assignment control unit 34, a musical sound generation unit 35, and an output unit 36. Among these, the function of the sound generation instruction receiving unit 31 is realized by the performance operator 22 and the detection circuit 16, the function of the musical tone generation unit 35 is realized by the sound source circuit 18, and the function of the output unit 36 is realized by the sound system 26. The The functions of other units are realized by the CPU 11.

  The sound generation instruction receiving unit 31 has a function of receiving a sound generation instruction operation by the user. For example, when the keyboard as the performance operator 22 receives a key pressing operation (pronunciation start operation) of any key, the sound generation instruction receiving unit 31 detects this, and the operation state detecting unit 32 performs the key pressing operation. Key-on data, which is an operation signal indicating that there is a note and the note number that is the pitch of the pressed key, is transmitted. When a key release operation (pronunciation stop operation) is accepted, similarly, key-off data indicating that there has been a key release operation and the note number of the key is transmitted.

  In the following description, an operation for instructing the start of sound generation such as a key press is referred to as a “key-on operation”, and an operation for instructing a stop of sound generation such as a key release is referred to as a “key-off operation”. A state from the key-on operation to the key-off operation is referred to as “in operation”. Speaking of the keys on the keyboard, “Now pressing” corresponds to this. However, even when a sounding start instruction is given, sounding is not always started. This is because it is possible to make a setting that does not generate sound for a certain pitch, or to limit the number of simultaneous sounds.

Based on the operation signal transmitted from the sound generation instruction receiving unit 31, the operation state detection unit 32 creates data indicating the current operation state of the performance operator 22 (here, the key is pressed because it is a keyboard). More specifically, a key-press list that indicates the pitch of the key being operated is created.
In addition, the operation state detection unit 32 refers to the partial range information supplied from the partial range setting unit 33 and creates a key depression list for each partial range.

  The partial range setting unit 33 is a partial range setting unit having a function of setting a plurality of partial ranges in a range in which the performance operator 22 can accept a performance operation. Here, as shown in FIG. 6, a division point is set in a sound range in which the performance operator 22 can accept a performance operation, the sound range is divided by the division point, and the low sound side from the division point is set to the partial sound range A, The high sound side is defined as a partial sound range B.

  However, the pitch range can be specifically defined for each partial range, and the number of partial ranges is not limited to two. Further, there may be pitches that do not belong to any partial pitch range between adjacent partial pitch ranges, or there may be pitches that belong to multiple partial pitch ranges. In any case, it is preferable that the setting of the partial sound range can be changed at any time by the user using the setting operation element 23.

Here, FIG. 3 shows an example of a time-series change of the key press list created by the operation state detection unit 32.
In FIG. 3, “Time” indicates the creation time of the key press list. The numbers in parentheses are variables indicating the passage of time, which increases by one each time the operation state detection unit 32 detects a key-on operation or key-off operation (receives key-on data or key-off data).

  When a person performs, even if he intends to operate a plurality of keys at the same time, it is difficult to perform the operation at the same timing without any difference. Therefore, if the timing difference between a plurality of operations is within a predetermined threshold (for example, about 15 to 30 milliseconds) that can be regarded as simultaneous operations, it is desirable to treat those operations as being performed at the same time. Here, explanation will be made assuming that this is handled. A key-on operation for one key and a key-off operation for another key may be performed simultaneously.

“Detection operation” indicates an operation detected by the operation state detection unit 32. The pitch before the underbar indicates the pitch of the operation, and after the underbar indicates whether the operation is key-on (on) or key-off (off). The second character of each pitch indicates the partial range to which the pitch belongs. “A” is the partial range A, and “b” is the partial range B.
The “whole key pressing list” is a key pressing list for the entire sound range.
The “A key press list” and the “B key press list” are key press lists indicating the operation states of the performance operator 22 at the pitches in the partial range A and the partial range B, respectively.

Of these, the entire key depression list can be updated by adding the detected key-on operation pitch to the list and deleting the key-off operation pitch from the list, for example.
Also, from the created entire key press list, the pitch data belonging to the partial range A can be taken out as the A key press list, and the pitch data belonging to the partial range B can be taken out as the B key press list. . Alternatively, based on the operation information detected for the pitches belonging to each partial range, the A key press list and the B key press list can be individually updated similarly to the entire key press list. In this case, it is not essential to create an entire key pressing list.

  Although the contents of the key press list are shown in FIG. 3 in time series, the operation state detection unit 32 only needs to hold the latest key press list, and holds the past key press list. Is not required. However, it is not impeded that the history of the past key press list is retained for a certain period of time and the pitch selection by the assigner AS can be controlled based on the history of operation.

Returning to the description of FIG. 2, when the key-on data is received, the operation state detection unit 32 further supplies the created key press list to the assignment control unit 34 to select a pitch to be generated. The specific supply destination is the key-on operation detected when the function is valid among n assigners from the first assigner AS-1 to the n-th assigner AS-n provided in the allocation control unit 34. This is an assigner corresponding to the partial range in which the key-press list is updated according to.
Further, the operation state detection unit 32 has a function of causing the tone generation unit 35 to stop the sound generation of the pitch for which the key-off operation has been performed when key-off data is received.

Next, the allocation control unit 34 includes one or a plurality (here, n) of assigners AS-1 to AS-n (use the code “AS” when there is no need to specify an individual of the assigner). . Each of these assigners AS refers to the key pressing list supplied from the operation state detection unit 32 in response to the key-on operation, and causes the musical tone generation unit 35 to generate a sound from the pitch being operated (during key pressing). This is a selection means for selecting a pitch (note). This selection is performed according to a rule set for each assigner.
Also, each assigner AS is associated with a partial range, and here, with reference to the key depression list of the corresponding partial range, a musical tone generation unit is selected from the pitches being operated in the partial range. Select the pitch to be generated by 35. The operation state detection unit 32 may pass only the key depression list of the partial range corresponding to the assigner to each assigner AS.

FIG. 4 shows an example of rules set for the assigner.
FIG. 4 shows an example in which four assigners are used, and a rule set for each assigner includes items of “target key press” and “priority method”. The “corresponding partial range” is information indicating a partial range corresponding to each assigner. This information may also be considered part of the rules.

The target key-pressing item is an item that determines which range of pitches during key pressing should be considered as a selection target. “Full key press” indicates that all pitches during key press are considered. “Excluding the highest note” indicates that only the pitches other than the highest note among the pitches being pressed are considered. Therefore, if there is only one key pressed, any pitch is not considered and no pitch is selected. The same applies to “excluding the lowest sound”.
Moreover, although not shown in FIG. 4, it shows that only X pitches from the low pitch side among the pitches during the key press are considered (all pitches when the key press is less than the X tone). “Low-side X sound” and similar “high-side X sound” can also be set.

  The item of the priority method is an item that determines how to select a pitch to be generated among the pitches considered as a selection target. “High pitch priority” indicates that the highest pitch among the pitches to be considered is selected. “Low-tone priority” indicates that the lowest pitch among the pitches to be considered is selected.

From the above, it can be seen that for the first assigner, a rule for selecting the highest pitch among all pitches being pressed is set.
For the second assigner, if the number of key presses is 2 or more, the second pitch from the top among the key presses is selected. If the number of key presses is 1 or less, no pitch is selected.
Similarly, for the third assigner, if the number of key presses is 2 or more, the second pitch from the bottom is selected among the key presses, and if the number of key presses is 1 or less, any pitch is selected. Will not choose.
It can be seen that for the fourth assigner, a rule for selecting the lowest pitch among all pitches being pressed is set.

Therefore, the first and second assigners are assigners having a rule that is conscious of selecting a high-frequency sound, and the third and fourth assigners have a rule that is conscious of selecting a low-frequency sound. You can think of it as an assigner.
For assigners not shown in the figure, it can be considered that the function is disabled.

When each assigner AS selects a pitch to be pronounced according to the above rules, the assigner AS requests the tone generator 35 to start tone generation of the selected tone. Each assigner AS is set with a corresponding tone color T1 to Tn, and requests that a musical tone be generated with the corresponding tone color. It is also possible to set a corresponding part in the assigner AS and set the timbre in association with the part. In this case, the assigner AS and the timbre are associated with each other through the part, and the part associated with the assigner AS-n is represented as the nth part.
It is not necessary to be aware of the partial range when requesting the start of pronunciation.

  Each assigner AS holds information about which pitch is the last selected pitch until it selects another pitch next time. Even when the pitch is selected, if the selected pitch is the same as the previous pitch, and the pitch is not the pitch that was key-oned this time (which was being operated before), It is preferable not to make a request for sound generation to the tone generation unit 35. In this case, for the pitch selected by the assigner AS this time, it is considered that it is desirable to continue the pronunciation started in response to the previous key-on operation regardless of the key-on operation detected this time.

In this example, for the sake of simplicity, each assigner is described as selecting one pitch, but it is also possible to set a rule that allows selection of a plurality of pitches. Select two tones with priority on high tones, etc.
There is no problem even if a plurality of assigners select the same pitch. In this case, the selected pitch is pronounced with a plurality of timbres.

  The musical sound generation unit 35 includes m sound generation chTC1 to TCm (use the code “TC” when there is no need to specify an individual sound generation ch). When a request to start sounding is received from the assigner AS, a sounding channel that is not sounding is searched, and a sound signal of the tone and tone color specified in the sounding start request is generated by using the found sounding chTC (sounding). Let In FIG. 2, the assigner AS and the sounding chTC are connected by a line, but there is no fixed correspondence between them.

Further, when the operation state detection unit 32 instructs the musical sound generation unit 35 to stop the sound generation of a specific pitch, the music sound generation unit 35 searches the sound generation chTC for the sound generation of the pitch, It also has a function to stop the pronunciation of the pronunciation channel. This stop includes the transition to the release state.
Then, the musical sound generation unit 35 mixes the acoustic signal generated by each sounding chTC and supplies it to the output unit 36 to output the musical sound.

Next, processing executed by the CPU 11 in order to realize the function performed by the CPU 11 among the functions shown in FIG. 2 will be described.
FIG. 5 is a flowchart of the processing.
When the CPU 11 receives key-on data and / or key-off data from the detection circuit 16, the CPU 11 starts the processing shown in the flowchart of FIG. 5 by executing a required program. As described above, an operation performed with a timing difference within a predetermined threshold is regarded as a simultaneous operation.

  In the process of FIG. 5, first, the CPU 11 updates the key depression list of the whole and each partial range described with reference to FIG. 3 based on the operation content of the performance operator 22 indicated by the received key-on data and / or key-off data. (S11). In step S11, the partial range where the key depression list has been changed is specified (S12).

  Next, the CPU 11 sequentially executes the processes of steps S14 to S22 with the partial ranges specified in step S12 as processing targets (S13, S23). Steps S14 to S22 are processes related to the stop and start of sound generation based on operations performed at the pitch of the partial range to be processed.

In this process, the CPU 11 first determines whether or not the detected operation includes key-off of the pitch of the partial range to be processed (S14). If a plurality of operations are detected at the same time, the answer is Yes if there is any corresponding key-off among them.
If the answer is Yes in step S14, the CPU 11 instructs the musical tone generation unit 35 to stop the tone generation related to the detected key-off operation (S15), and proceeds to step S16. If No in step S14, step S15 is skipped and the process proceeds to step S16.

Next, the CPU 11 determines whether or not the detected operation includes key-on of the pitch of the partial range to be processed (S16). When a plurality of operations are detected at the same time, if even one of them is a key-on, the answer is Yes.
In the case of Yes in step S16, the processing of steps S17 to S22 is executed so as to select the pitch to be generated by each assigner. Here, when even one key-on operation is detected in the partial sound range to be processed, the process is performed for all assigners AS. However, only the assigner corresponding to the partial range to be processed actually selects the pitch.

In this part of the process, the CPU 11 first assigns 1 to a variable n (S17). Then, it is determined whether or not the nth assigner AS-n is an assigner corresponding to the partial range to be processed (S18).
If “Yes” here, the CPU 11 selects a pitch to be generated from the key pressing list of the partial range to be processed in accordance with the rules set for the nth assigner AS-n (S19). Then, the musical sound generation unit 35 is instructed to start sounding the nth part corresponding to the nth assigner AS-n at the pitch selected in step S19 (S20). In this case, the timbre used for sound generation is the timbre set for the nth part.

In step S19, the rule is applied assuming that only the pitches on the key press list of the partial range to be processed are pressed. That is, key presses outside the partial range to be processed are ignored. For example, at time t (3) in FIG. 3, if the partial range to be processed is B and selection related to the second assigner is performed, even if there is another key depression in partial range A, partial range B has Since there is only one key depression, there is no pitch other than the highest tone, and no pitch is selected.
If No in step S18, no pitch is selected for the nth assigner AS-n, so steps S19 and S20 are skipped.

The above steps S18 to S20 are processing for one assigner AS. Thereafter, the CPU 11 determines whether or not the currently assigned assigner is the last assigner (S21). If not, the CPU 11 increments n by 1 (S22), returns to step S18, and repeats the process.
In the case of Yes in step S21, since it is found that the processing related to all assigners has been completed, the process proceeds to step S23.
The above steps S14 to S22 are processing for one partial sound range. Thereafter, the CPU 11 determines whether or not there is a partial range identified in step S12 that has not yet been processed (S23). If there is, the process returns to step S13 and repeats the process. If not, it is found that the processing related to all necessary partial ranges is finished, and the processing is finished.

The above processing of FIG. 5 is processing according to the embodiment of the pronunciation pitch selection method of the present invention. Further, the processing of steps S17 to S22 corresponds to the selection procedure.
Then, by executing the above processing, the CPU 11 causes each assigner AS corresponding to one of the partial ranges to pronounce according to the operation state of the performance operator 22 corresponding to the pitch in the corresponding partial range. The pitch to be played can be selected. Thus, it is possible to easily select a tone pitch that matches the intention of the performer's performance operation. Further, it is not necessary to make the pitch selection rule set for each assigner AS particularly complicated in order to perform this sound generation.

Next, the effect of selecting the tone pitch for each partial range will be described with reference to FIGS.
FIG. 6 to FIG. 10 are diagrams showing the relationship between the performance operation performed by the user and the tone pitch selected by each assigner in accordance with the performance operation. In these figures, the horizontal axis represents the pitch, the vertical axis represents the time, and the band shown at each pitch position indicates the key pressing period of each pitch. Further, the lower sound side is a partial sound range A and the high sound side is a partial sound range B from the dividing point. Also, an arrow corresponding to each assigner indicates when and which pitch is selected by that assigner.

The example of FIG. 6 is an example in the case where keys of pitches na1 to nb2 are sequentially pressed and released from the low tone side to the high tone side. The key pressing list shown in FIG. 3 is a key pressing list at each time point from t (1) to t (5) when the performance operation of FIG. 6 is performed.
As can be seen from FIG. 6, at the timing of t (1), only the key of the pitch na1 of the partial range A is depressed, and therefore the third and fourth assigners AS-3, 4 corresponding to the partial range A Only the choice of pronunciation pitch is made. However, since the third assigner AS-3 does not select any pitch when the number of key presses is 1, the fourth assigner AS-4 selects the pitch na1 at this time, and the tone generator 35 receives the pitch. It only starts pronunciation.

  At the timing of the next t (2), only the keys of the pitches na1 and na2 of the partial range A are still pressed. Therefore, the third and fourth assigners AS-3 and 4 corresponding to the partial pitch A select the pitches na2 and na1, respectively, according to the rules shown in FIG. Since the selection of the fourth assigner AS-4 is the same as the timing of t (1), no new sounding is started here, and the musical tone generating unit 35 newly generates the tone na2 selected by the third assigner AS-3. To start.

  At the timing of the next t (3), the pitch nb1 of the partial range B is pressed. On the other hand, since there is no change in the key depression state of the partial range A, only the first and second assigners AS-1 and AS-2 corresponding to the partial range B here select the sound generation pitch. However, since there is only one key depression in the partial range B, the second assigner AS-2 does not select any pitch, the first assigner AS-1 selects the pitch nb1, and the musical tone generation unit 35 It only starts to pronounce this pitch. The third and fourth assigners AS-3 and 4 have no change in the selection of the pitch, and the corresponding pronunciation is continued as it is.

  Even at the timing of the next t (4), the key depression state changes only in the partial sound range B. Therefore, the first and second assigners AS-1 and AS2 corresponding to the partial pitch B select the pitches nb1 and nb2, respectively, according to the rules shown in FIG. Since both the selections are different from the timing of t (3), the tone generation unit 35 starts a new pronunciation corresponding to each. Here, the third and fourth assigners AS-3, 4 do not change in the selection of the pitch, and the corresponding pronunciation is continued as it is.

  At the timing from t (5) to t (8), the tone generation unit 35 stops the sound generation of the key-off pitch according to the key-off operation of each pitch. Since there is no key-on operation at these timings, the assigner AS does not select a new pitch. In FIG. 5, the processing is performed for each partial sound range, but it is not particularly necessary to be aware of the partial sound range when stopping the sound generation in response to the key-off operation.

Thus, according to the process of FIG. 5, since the key of the partial range B is not operated before t (3), the third and fourth assigners conscious of selecting the low-frequency side sound. The first and second assigners AS-1 and AS-2, which are aware that only AS-3 and 4 select the tone pitch and select the low-pitched sound, do not select the tone pitch. Therefore, even when only the low-frequency range key is operated first, the musical sound (tone corresponding to the first and second assigners AS-1 and AS-2) is not pronounced in the low-frequency range. .
Therefore, it is possible to easily select the sound production pitch that matches the intention of the performance operation of the performer. The selection rule set for each assigner AS may be as simple as shown in FIG.

Next, the example of FIG. 7 is an example in the case where the keys of the pitches nb1 to na1 are sequentially pressed and released from the high pitch side to the low pitch side. In other words, this is an example in which an operation in the reverse order to the case of FIG. 6 is performed.
As can be seen from FIG. 7, at the timing of t (1) and t (2), contrary to the case of FIG. 6, only the key of the partial sound range B is depressed, and therefore the first corresponding to the partial sound range B. And only the second assigner AS-1 and 2 select the tone pitch. Then, at t (1), the first assigner AS-1 selects the pitch nb2 and causes the tone generator 35 to start sounding this pitch, and at t (2), the second assigner AS-2 plays the tone. The high tone nb1 is selected, and the tone generator 35 is caused to start sounding this pitch.

Further, only the key depression state of the partial range A changes at the timing of t (3) and t (4). For this reason, only the third and fourth assigners AS-3 and 4 corresponding to the partial range A perform selection of the tone pitch. Then, at t (3), the fourth assigner AS-4 selects the pitch na2 and causes the tone generator 35 to start sounding this pitch. At t (4), the third and fourth assigners AS- 3 and 4 select the pitches na2 and na1, respectively, and cause the tone generator 35 to start generating the pitch.
Similar to FIG. 6, the tone generation unit 35 stops the sound generation of the key-off pitch in response to the key-off operation of each pitch at the timing t (5) to t (8).

  Thus, according to the processing of FIG. 5, contrary to the example of FIG. 6, when only the high-frequency range key is operated first, the musical sound to be generated in the low-frequency range (third and fourth assigners AS-3). , 4 and the timbre) do not sound in the high range. Accordingly, in this respect as well, it is possible to easily select the sound production pitch that matches the intention of the performer's performance operation.

Next, the example of FIG. 8 is an example in the case where a plurality of key presses and key releases with different numbers and pitches are continuously performed.
As can be seen from FIG. 8, at the timing of t (1), only the key having the pitch na1 is pressed in the partial range A, and only the key having the pitch nb1 is pressed in the partial range B. In response to this, in the partial range A, the fourth assigner AS-4 selects the pitch na1, and in the partial range B, the first assigner AS-1 selects the pitch nb1, and generates a sound corresponding to the musical tone generation unit 35. Let it begin. These sound generations are stopped in response to the key release at t (2).

At the next timing t (3), keys of pitches na2 and na3 are pressed in partial pitch A, and keys of pitches nb1 and nb2 are pressed in partial pitch B. Accordingly, in the partial range A, the third and fourth assigners AS-3 and 4 select the pitches na3 and na2, respectively, and in the partial range B, the first and second assigners AS-1 and 2 each have the pitch nb2, respectively. nb1 is selected, and the tone generation unit 35 is started to sound. These sound generations are stopped in response to the key release at t (4).
At the timing of t (5), the key to be pressed is different in the partial range A from that in the case of t (3). Accordingly, the third and fourth assigners AS-3 and 4 respectively change the pitches na2 and na1. Otherwise, the operation is the same as in the case of t (3).

  As described above, according to the processing of FIG. 5, even when performing a performance with the number of key presses straddling the partial range A and the partial range B, the musical sound to be generated in the high range is pronounced in the low range. And musical sounds that should be pronounced in the low range are not pronounced in the high range. This is because each assigner does not select a pitch other than the corresponding partial range even if the number of key presses is changed.

On the other hand, if it is within the partial range, as can be seen from the pronunciation in the partial range A of t (3) and t (5), the same pitch na2 is sometimes used with the tone corresponding to the fourth assigner, and at other times. The timbre corresponding to the third assigner can be pronounced with a different timbre depending on the case. This is because the assigner can select any pitch within the corresponding partial range (according to the rules), and the pitch of each tone changes dynamically compared to the conventional split function. A variety of performances are possible.
For example, assuming a string quartet, if the first and second parts are two violin tones and the third and fourth parts are viola and cello tones, the former is the low range and the latter is the high range. Although it is strange to sound the range, it is desirable to be able to produce a wide range of pitches within the assigned range. The configuration of this embodiment is particularly useful when performing such a performance.

[Comparative example of the first embodiment: FIGS. 9 and 10]
FIG. 9 and FIG. 10 show a comparative example in the case where the pitch is pronounced according to the rules shown in FIG.
FIG. 9 shows how the pitch is selected according to the same performance operation as in FIG.
In this case, all the assigners AS select the tone pitch at the timing of each key-on operation.
At the timing t (1), the second and third assigners AS-2 and 3 do not perform pitch selection because the number of key presses is 1, but the first and fourth assigners AS-1 and 4 Then, the depressed pitch na1 is selected, and the tone generator 35 is caused to start sounding this pitch.

  At the timing t (2), the first and third assigners AS-1 and 3 select the pitch na2, the second and fourth assigners AS-2 and 4 select the pitch na1, and generate a musical tone. The unit 35 is caused to start sounding this pitch (the fourth assigner AS-4 is the same selection as before, so no new sounding is started).

As can be seen from these, in the case where the partial range is not set, if only the low range key is operated first, the musical sound to be generated in the high range is generated in the low range. Although illustration is omitted, if only the high-frequency range key is operated first, the musical sound to be generated in the low-frequency range is similarly generated in the high-frequency range. Therefore, the tone pitch is not selected from the intention of the performer's performance operation.
As described above, such a problem does not occur in the examples of FIGS.

FIG. 10 shows how the pitch is selected in accordance with the same performance operation as in FIG.
In this case, at timing t (1), the second and fourth assigners AS-2 and 4 select the pitch na1, the first and third assigners AS-1 and 3 select the pitch nb1, and the musical tone. The generator 35 is caused to start pronunciation of this pitch. The pronunciation after t (3) is the same as in FIG.
Also in this case, if the partial range is not set, each assigner selects a tone pitch that deviates from the intention of the performer's performance operation when the number of key presses is small. On the other hand, as described above, such a problem does not occur in the example of FIG.

[Second Embodiment: FIGS. 11 to 14]
Next, an electronic musical instrument that is a second embodiment of the present invention will be described.
Since the second embodiment is different from the first embodiment only in that the full range mode is provided, only this point will be described. The same reference numerals as those in the first embodiment are used for the same or corresponding components as those in the first embodiment. This also applies to the following embodiments.

FIG. 11 is a functional block diagram corresponding to FIG. 2 in the electronic musical instrument 10 of the second embodiment.
As shown in FIG. 11, the electronic musical instrument 10 of the second embodiment includes a mode selection instruction receiving unit 37 and a mode setting unit 38 in addition to the configuration of the electronic musical instrument 10 of the first embodiment. Among these, the function of the mode selection instruction receiving unit 37 is realized by the performance operator 22 or the setting operator 23 and the detection circuit 16, and the function of the mode setting unit 38 is realized by the CPU 11.

The mode selection instruction accepting unit 37 has a function of accepting an instruction to select an operation mode of the electronic musical instrument 10 by the user. For example, this instruction can be received by an operation state of a pedal that is a part of the performance operator 22 or a button that is a part of the setting operator 23.
The operation modes accepted in the second embodiment are the normal mode for selecting the pitch to be generated from the key press list of the corresponding partial range by each assigner AS, and the corresponding partial range, as in the first embodiment. This is a full range mode for selecting a pitch to be generated in consideration of other key pressing operations. Further, the mode selection instruction accepting unit 37 is instructed to select the full range mode when the pedal or the button is turned on (the first operation is performed) and is turned off (the first operation is performed). If the normal mode is instructed, it may be handled.

The mode selection instruction receiving unit 37 supplies information on the operation mode selection instruction by the above operation to the mode setting unit 38, and the mode setting unit 38 functioning as a switching unit sets the operation mode based on the information. In addition, the mode setting unit 38 allows the operation state detection unit 32 to refer to information on the operation mode when creating a key depression list for each partial range.
And the operation state detection part 32 produces the key press list | wrist of each partial range with a different algorithm according to whether an operation mode is a normal mode or a full range mode.

FIG. 12 shows a flowchart of a key-press list creation process executed by the CPU 11 in the second embodiment. This process replaces step S11 in FIG.
In the process of FIG. 12, the CPU 11 first determines whether or not an operation for instructing the full range mode has been performed (S31). If yes, the detected key-on operation pitches are added to the key press list for all partial ranges (S32), and the detected key-off operation pitches are respectively added from the key press list for all partial ranges. Delete (S33). When a plurality of operations are detected, these processes are executed for all of them.

  Although a specific example will be shown later, the processing in step S32 is performed for selecting a tone pitch for a pitch other than the partial range corresponding to the assigner for the operation performed while the operation for instructing the full range mode is being performed. This is a process for allowing consideration. For this reason, the key-on operation that is performed while the operation for instructing the full-range mode is being performed is reflected in the key depression list of the entire partial range regardless of which partial range the key-on operation is performed. Yes. Correspondingly, the key-off operation is also reflected in the key depression list of all partial ranges in step S33. If the pitch to be deleted is not in the key pressing list, no action is required.

  On the other hand, if No in step S31, the CPU 11 adds the detected key-on operation pitch to the key depression list of the partial range to which the pitch belongs (S34), and also detects the detected key-off operation pitch. Each key is deleted from the key pressing list of all partial ranges (S35). Again, if a plurality of operations are detected, these processes are executed for all of them.

  This process is almost the same as the process described in the first embodiment in the case of directly updating the key depression list of each partial range. However, in order to be able to delete information on pitches outside the partial range added during the full range mode, the deletion in step S35 is performed on the key depression list for all partial ranges as in step S33. ing.

After step S33 or S35, the processing of step S12 and subsequent steps in FIG. 5 is executed to cause each assigner to select a pronunciation pitch. However, in steps S14 and S16, it is determined whether or not there is a key-off or key-on reflected in the key press list of the partial range to be processed. In full-range mode, key-on operations for pitches outside the partial range corresponding to the assigner are reflected in the key press list for the partial range corresponding to the assigner, and the assigner may have to select the pronunciation pitch accordingly. It is. The same applies to the stop of sound generation in response to key-off.
In the second embodiment, considering the operation in the full range mode, it is difficult to create a key press list for each partial range from the entire key press list. Not shown. However, the creation of the entire key pressing list is not prevented.

Next, the effect of the above-mentioned whole range mode will be described with reference to FIGS.
FIG. 13 is a diagram corresponding to FIG. 7 and the like, showing the relationship between the performance operation performed by the user and the pronunciation pitches selected by the assigners accordingly. FIG. 14 is a diagram corresponding to FIG. 3 showing the detection operation and the contents of the key press list at each time point in FIG. However, the entire key press list is only for reference.

The example of FIG. 13 is an example in which the key of the pitch na1 of the partial range A is pressed and the key nb1 and the key nb2 of the partial range B are repeatedly pressed and released several times during that time. . Further, the full range mode is designated during the period indicated by SW_ON.
As can be seen from FIG. 13, at the timing of t (1), only the key of the pitch na1 of the partial range A is pressed, so the fourth assigner AS-4 corresponding to the partial range A has the pitch na1. It is only selected and the tone generator 35 starts to generate this pitch.

  At the timing t (2), only the keys of the pitches nb1 and nb2 of the partial range B are pressed, but since the full range mode is designated, nb1 and nb2 are also added to the A key press list. . Therefore, the first and second assigners AS-1 and 2 corresponding to the partial range B select the nb2 and nb1 from the pitches nb1 and nb2, respectively, and the third and third corresponding to the partial range A. The 4 assigners AS-3 and 4 also select the tone pitch.

  At this time, the selection applies the rules of each assigner on the assumption that three keys of pitches na1, nb1, and nb2 registered in the A key pressing list are pressed. As a result, the third assigner AS-3 selects the lowest pitch nb1 other than the lowest tone, and the fourth assigner AS-4 selects the lowest pitch na1. Then, since the pitches to be selected have changed, the first to third assigners AS-1 to AS-3 start sound generation corresponding to the musical sound generation unit 35.

At the timing t (3), the sound generation of the pitches of the released pitches nb1 and nb2 is stopped. This is done regardless of which assigner is the corresponding pronunciation. Accordingly, the sound generation corresponding to the third assigner AS-3 which should not originally select the pitch nb1 is also stopped.
The sounding at the timing of t (4) is the same as in t (2). In addition, the whole range mode is canceled before t (5), but this does not affect the processing for deleting the pitch that has been released from the key pressing list. Therefore, the sound generation stop at the timing of t (5) is performed in the same manner as in the case of t (3).

  On the other hand, at the timing of t (6), since the full range mode is not specified and the normal mode is selected, the pitches nb1 and nb2 are added only to the B key pressing list. Therefore, the assigner corresponding to the partial range A does not select the tone pitch, and the first and second assigners AS-1 and AS-2 corresponding to the partial range B are nb2 and nb1 from the pitches nb1 and nb2, respectively. Just select.

  In this way, by using the full range mode, each assigner can temporarily select a pitch other than the corresponding partial range. When the pitch selection for each partial range is severely limited and the desired pitch cannot be selected, by using such a mode, the electronic musical instrument 10 produces a sound that matches the intention of the player's performance operation. Can be done.

In this second embodiment, in the whole range mode, each assigner only considers the operation to the pitch outside the corresponding partial range only for the operation while the whole range mode is designated. I made it. However, in addition to this, it is also conceivable that each assigner selects a tone pitch based on the entire key depression list while the whole range mode is designated.
In this way, for example, at the timing of t (2) in FIG. 13, the first and second assigners AS-1 and 2 corresponding to the partial range B consider the pitch na1 in addition to the pitches nb1 and nb2. To select the pronunciation pitch. Even with such a method, it is possible to select a pitch that temporarily removes the restriction of the partial range.

[Third Embodiment: FIGS. 15 to 18]
Next, an electronic musical instrument which is a third embodiment of the present invention will be described.
Since the third embodiment is different from the first embodiment only in that the pitch addition mode is provided, only this point will be described. The same reference numerals as those in the first embodiment are used for the same or corresponding components as those in the first embodiment. This also applies to the following embodiments.

In the third embodiment, although the functional block diagram corresponding to FIG. 11 is omitted, the mode selection instruction accepting unit 37 accepts the pitch corresponding to the pitch of the key when a certain key is operated. This is a pitch addition mode that causes each assigner to select a pronunciation pitch even if the key is operated. When the pedal or button is turned on (second operation is performed), the mode selection instruction receiving unit 37 is instructed to enter a pitch addition mode and is turned off (second operation is performed). If the normal mode is instructed, it may be handled.
The operation state detection unit 32 creates a key depression list for each partial range with a different algorithm depending on whether the operation mode is the normal mode or the pitch addition mode.

FIG. 15 shows a flowchart of a key press list creation process executed by the CPU 11 in the third embodiment. This process also replaces step S11 in FIG.
In the process of FIG. 15, the CPU 11 first adds the detected pitch of the key-on operation to the entire key pressing list (S41). This is processing related to the pitch itself related to the detected operation that is common regardless of the pitch addition mode or the normal mode.
Next, the CPU 11 determines whether or not an operation for instructing a pitch addition mode has been performed (S42). If Yes, an additional pitch corresponding to the detected key-on operation pitch is added to the entire key pressing list (S43). This is processing related to a pitch to be added in the pitch addition mode.

FIG. 16 shows an example of an additional setting table that defines the correspondence between the operation pitch, which is the pitch at which an operation is detected, and the additional pitch. This correspondence is one-way. That is, even when an operation is performed for an additional pitch, the operation pitch is not always added to the key pressing list. Further, when setting this correspondence, the partial sound range need not be considered. That is, the correspondence within the partial sound range and the correspondence across the partial sound range can be set arbitrarily.
The additional setting table is preferably held by the mode setting unit 38 so that the operation state detecting unit 32 can refer to the contents. In this case, the mode setting unit 38 functions as a correspondence setting unit. Further, it is preferable that the user can edit the contents of the additional setting table.

Returning to the description of FIG. 15, if “No” in step S 42, that is, if it is the normal mode, step S 43 is skipped.
After step S42 or S43, the CPU 11 deletes the detected pitch of the key-off operation and the additional pitch corresponding to the detected pitch from the entire key pressing list (S44). Even if the pitch addition mode is canceled after adding the additional pitch to the entire key pressing list in step S43, the additional pitch is deleted regardless of the mode in step S44 so that the additional pitch can be deleted. Like to do. If the pitch to be deleted is not registered in the entire key pressing list, it is not necessary to delete it.

  Thereafter, the CPU 11 updates the key pressing list of each partial range based on the updated entire key pressing list up to step S44 (S45). For example, by extracting the pitches belonging to each partial range from the entire key press list, the latest key press list of the partial range can be created.

  After step S45, the processing from step S12 onward in FIG. 5 is executed to cause each assigner to select a tone pitch. However, in steps S14 and S16, it is determined whether or not there is a key-off or key-on reflected in the key press list of the partial range to be processed. In the pitch addition mode, the key-on operation of the pitch outside the partial range corresponding to the assigner is reflected in the key press list as the additional pitch of the partial range corresponding to the assigner, and the pronunciation pitch is selected for the assigner accordingly. This is because there are cases where it should be allowed. The same applies to the stop of sound generation in response to key-off.

  Note that if a key of that pitch is pressed while a certain pitch is registered as an additional pitch in the partial key press list, the same pitch is again pressed according to the key pressed. It is not registered in the list. Therefore, in this case, the key pressing operation is not reflected in the corresponding key pressing list, and the assigner corresponding to the corresponding partial range does not select the tone pitch corresponding to the key pressing. The same applies to the case where the additional pitch to be registered in step S44 has already been registered in the key pressing list.

Next, the effect of the above pitch addition mode will be described with reference to FIGS.
FIG. 17 is a diagram corresponding to FIG. 7 and the like showing the relationship between the performance operation performed by the user and the pronunciation pitches selected by the assigners in accordance therewith. A broken band indicates a pitch registered in the key depression list as an additional pitch. FIG. 18 is a diagram corresponding to FIG. 3 showing the detection operation and the contents of the key press list at each time point in FIG. However, the entire key press list is only for reference.

The example of FIG. 17 is an example in which the same key pressing operation as that of the example of FIG. 13 is performed and the pitch addition mode is designated during the period indicated by SW_ON.
As can be seen from FIG. 17, at the timing of t (1), only the key of the pitch na1 of the partial range A is depressed, so the fourth assigner AS-4 corresponding to the partial range A has the pitch na1. It is only selected and the tone generator 35 starts to generate this pitch.

  At the timing of t (2), only the keys of the pitches nb1 and nb2 of the partial range B are pressed, but since the pitch addition mode is designated, the additional pitches corresponding to these are na2 and na3. Is added to the entire key pressing list, and this is reflected in the A key pressing list. Therefore, the first and second assigners AS-1 and 2 corresponding to the partial range B select the nb2 and nb1 from the pitches nb1 and nb2, respectively, and the third and third corresponding to the partial range A. The 4 assigners AS-3 and 4 also select the tone pitch.

  At this time, the selection applies the rules of each assigner assuming that three keys na1, na2, and na3 registered in the A key pressing list are pressed. As a result, the third assigner AS-3 selects the lowest pitch na2 other than the lowest tone, and the fourth assigner AS-4 selects the lowest pitch na1. Then, since the pitches to be selected have changed, the first to third assigners AS-1 to AS-3 start sound generation corresponding to the musical sound generation unit 35.

At the timing t (3), the sound generation of the pitches of the released pitches nb1 and nb2 is stopped. Further, the sound generation of the pitches of na2 and na3, which are additional pitches corresponding to these, is also stopped. Accordingly, the sound generation corresponding to the third assigner AS-3 that originally selected the pitch na2 is also stopped.
The sounding at the timing of t (4) is the same as in t (2). Also, the pitch addition mode is canceled before t (5), but this does not affect the processing for deleting the pitch that has been released from the key pressing list. Therefore, the sound generation stop at the timing of t (5) is performed in the same manner as in the case of t (3).

  On the other hand, at the timing of t (6), since the pitch addition mode is not specified and the normal mode is selected, only the pitches nb1 and nb2 actually pressed are added to the entire key pressing list. Accordingly, since there is no change in the A key depression list, the assigner corresponding to the partial range A does not select the tone pitch, and the first and second assigners AS-1 and 2 corresponding to the partial range B have the pitches. Only nb2 and nb1 are selected from nb1 and nb2, respectively.

  In this way, by using the pitch addition mode, it is possible to generate a musical tone as if a large number of keys were pressed in each partial key range even with a small number of keys. Therefore, a performance with a large number of sounds can be easily performed. Further, if the pitch addition mode and the normal mode can be arbitrarily switched, it is possible to increase the number of sounds by a simple operation when the performer desires, and the range of performance is further expanded.

In the example of FIG. 15, the additional pitch is searched when the key depression list is created. However, when an operation is first detected, the same applies to the additional pitch corresponding to the pitch related to the operation. It is also conceivable that the processing of FIG. 5 is executed in the same manner as in the first embodiment on the assumption that there is an operation (key-on / off data relating to the additional pitch is also detected).
Further, when the pitch addition mode is instructed, the processing of FIG. 15 may be executed assuming that a new key pressing operation has been performed on the additional pitch corresponding to the pitch being pressed at that time.

[Modification]
This is the end of the description of the embodiment. However, the configuration of the apparatus, the configuration of operators such as performance operators, the number of assigners and selection rules set for the assigners, the configuration of data used for processing, and the specific processing It goes without saying that the procedure and the like are not limited to those described in the above embodiment.
For example, in the above-described embodiment, the key press list is prepared for each partial range, but the key press list is only the entire key press list, and each assigner is included in the pitches registered in the entire key press list. Alternatively, only the pitches belonging to the corresponding partial pitch range may be extracted, and the pitch selection rule may be applied to the extraction result. Even in this way, it is possible to select the tone pitch according to the operation state of the performance operator 22 corresponding to the pitch in the corresponding partial range.

Further, the number of assigners associated with each partial range is not limited to two, and it is not necessary to be equal for each partial range.
Further, in addition to sound generation using the assigner associated with the partial range, a tone color that is surely generated can be set according to the key depression, regardless of the operation of the assigner. For example, poly tones such as piano and strings are pronounced in addition to the pronunciation using the assigner. Further, this additional pronunciation may be performed only in a part of the sound range. The range may be defined separately from the partial range associated with the assigner.

  In addition, when three or more partial ranges are provided, if an assigner that selects a pronunciation pitch is prepared for two or more partial ranges as in the above-described embodiment, the other partial ranges are included in the partial ranges. The pronunciation corresponding to the key depression may be performed with a tone color associated with the partial range. Even if it does in this way, the effect similar to embodiment mentioned above is acquired about the said 2 or more partial sound range. In this case, it is desirable to determine the correspondence between the operation pitch and the additional pitch only in the range of the partial range where the assigner is prepared.

  In the above-described embodiment, an example has been described in which the performance operator is a keyboard, and a sounding start instruction is performed by a key pressing operation and a sound generation stop instruction is performed by a key release operation. However, the form of the performance operator is not limited to this. The present invention can be applied not only to the shape of other musical instruments but also to an apparatus having a user interface having a shape completely different from that of a traditional musical instrument, such as a pad having operation units arranged in a matrix. In this case, the sound generation start instruction and the sound generation stop instruction are received by an operation method according to the characteristics of the user interface.

Further, it is not necessary for the electronic musical instrument 10 to incorporate a performance operator. It is also conceivable that performance data indicating the operation content of the performance operator is acquired from an external controller connected to the communication I / F 15 and the electronic musical instrument 10 grasps the operation state of each operation unit based on the performance data. .
It is also conceivable to use a GUI (graphical user interface) displayed on a keyboard of a general-purpose computer or a touch panel as a performance operator. In this case, the function of each unit shown in FIG. 2 can be realized by a general-purpose computer so that it can function as an electronic musical instrument. In any case, the functions of the respective units shown in FIG. 2 can be distributed and provided in a plurality of devices, and the functions of the electronic musical instrument 10 can be realized by cooperating them.

A program according to an embodiment of the present invention realizes the functions of each unit (particularly, the operation state detection unit 32 and the partial sound range setting unit 33) illustrated in FIG. 2 by causing one computer or a plurality of computers to cooperate. It is a program for.
Then, by causing the computer to execute such a program, the above-described effects can be obtained.

  Such a program may be stored in a ROM or other nonvolatile storage medium (flash memory, EEPROM, etc.) provided in the computer from the beginning. However, it can also be provided by being recorded on an arbitrary nonvolatile recording medium such as a memory card, CD, DVD, or Blu-ray disc. Each procedure described above can be executed by installing the program recorded in the recording medium in a computer and executing the program.

Furthermore, it is also possible to download from an external device that is connected to a network and includes a recording medium that records the program, or an external device that stores the program in a storage unit, and install and execute the program on a computer.
Moreover, it is needless to say that the configurations of the embodiment and the modified examples described above can be arbitrarily combined and implemented as long as they do not contradict each other.

As is clear from the above description, according to the present invention, in the case of selecting the pitches to be pronounced by the plurality of selection means according to the operation states of the plurality of operation units respectively corresponding to the pitches, It is possible to easily select the pronunciation pitch suitable for the intention of the performance operation.
Therefore, the convenience of the electronic musical instrument can be improved by applying the present invention.

10: electronic musical instrument, 11: CPU, 12: ROM, 13: RAM, 14: storage device, 15: communication I / F, 16: detection circuit, 17: display circuit, 18: sound source circuit, 19: system bus, 21 : Timer, 22: performance operator, 23: setting operator, 24: display, 25: DAC, 26: sound system, 31: pronunciation instruction receiving unit, 32: operation state detecting unit, 33: partial range setting unit, 34 : Allocation control unit, 35: musical sound generation unit, 36: output unit, 37: mode selection instruction reception unit, 38: mode setting unit, AS: assigner, TC: sound generation ch

Claims (6)

A plurality of selection means for selecting a pitch to be generated according to operation states of a plurality of operation units each corresponding to a pitch;
A partial range setting means for setting a plurality of partial ranges in the corresponding range of the plurality of operation units,
Each of the selection means is associated with one of the plurality of partial ranges, and selects a pitch to be generated according to the operation state of the operation unit corresponding to the pitch in the corresponding partial range. A featured electronic musical instrument. The electronic musical instrument according to claim 1,
According to a specific first operation, the selection means selects a pitch to be generated according to a pitch in the corresponding partial range and an operation state of the corresponding operation unit, or a pitch in the corresponding partial range. In addition to the operation state of the corresponding operation unit, the pitch to be generated according to the operation of the operation unit corresponding to the pitch other than the corresponding partial range made during the first operation is selected. An electronic musical instrument comprising switching means for switching between or not. The electronic musical instrument according to claim 1 or 2,
Correspondence setting means for setting a correspondence relationship between the first pitch and the second pitch;
A pitch addition mode in which the selection means selects the pitch when the operation unit corresponding to the second pitch is also operated when the operation unit corresponding to the first pitch is operated. And an electronic musical instrument characterized by comprising: An electronic musical instrument according to claim 3,
The electronic musical instrument characterized in that the control means controls the pitch addition mode when a specific second operation is performed. Computer
A plurality of selection means for selecting a pitch to be generated according to operation states of a plurality of operation units each corresponding to a pitch;
A program for functioning as a partial range setting means for setting a plurality of partial ranges in a range corresponding to the plurality of operation units,
Each of the selection means is associated with one of the plurality of partial ranges, and selects a pitch to be generated according to the operation state of the operation unit corresponding to the pitch in the corresponding partial range. A featured program. A selection procedure for selecting a pitch to be generated by each of the plurality of selection means according to the operation states of the plurality of operation units corresponding to the pitches, and
A partial range setting procedure for setting a plurality of partial ranges in a range corresponding to the plurality of operation units,
Each of the selection means is associated with one of the plurality of partial ranges, and in the selection procedure, a pitch is generated according to the operation state of the operation unit corresponding to the pitch in the corresponding partial range. A pronunciation pitch selection method, characterized by selecting.

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